This thesis examines the Great West Window at Exeter Cathedral designed by William Peckitt of York (1731-95). Peckitt was arguably the most important glass designer of the eighteenth century and undertook prestigious commissions at York, Oxford and elsewhere. In 1764 he was contracted by the Dean of Exeter, Jeremiah Milles, to supply glass to complete the restoration of the Cathedral’s glazing and to make the new window, which has often been considered to be his masterpiece. Peckitt’s Great West Window is no longer extant (although portions of it have been salvaged), having been replaced in 1904 with a window, designed by Messrs Burlison and Grylls, which was itself destroyed by enemy action in 1942. The Burlison and Grylls window was more in keeping with the Gothic revival aesthetic typical of the later nineteenth century and its proponents had argued forcefully that Peckitt’s Great West Window was an aberration that needed to be removed. The thesis provides initially an account of the debate that raged in the national press and beyond about the propriety of replacing Peckitt’s window. This documentary evidence gives a valuable insight into attitudes towards the adornment of churches at the turn of the century: should respect for the extant fabric include Peckitt’s one-hundred-and-fifty year-old contribution or should the building be renovated with a modern medieval-revival window. Until recent times it was largely the case that eighteenth-century glass was regarded as wholly inferior to the medieval glass that preceded it and it is widely accepted that glass making in Britain only recovered with the nineteenth-century Gothic revival and the modern glass that followed it. In this thesis it is suggested that the denigration of eighteenth-century glass and in particular that of William Peckitt at Exeter, ignores its qualities, practical and intellectual, and the Great West Window is used to reveal the seriousness of such endeavours. Peckitt’s work is positioned within the context of the particular circumstances of the restoration of Exeter Cathedral in the mid-eighteenth century under two successive Deans, Charles Lyttelton and the aforementioned Jeremiah Milles, both of whom were nationally significant antiquarian scholars. Peckitt was knowledgeable about medieval glass techniques, worked sensitively in restoring medieval glass and when designing a completely new window for the Cathedral worked closely with Milles to provide an iconographical scheme that was appropriate for the Cathedral, its history and its patrons. The evidence brought forward suggests that it is wrong to presume that glass designers like Peckitt had little understanding of medieval glass manufacture nor any interest in using the medium of glass appropriately in the context of a medieval building.

Couple therapy research identifies partner empathy as a core process for positive outcomes. The Exeter Model of couple therapy (EMCT) for depression builds on both behavioural and empathic approaches in couple therapy to reduce unhelpful couple interactions and promote mutual understanding between partners where one partner is experiencing depression. Based on EMCT, this process research study aimed to investigate mutual understanding (MU), a transtheoretical concept that refers to the moment-by-moment therapy triad talk that constructs partner empathy. Thirty-four therapy sessions from seven couples in EMCT were screened for MU events, based on pre-defined theoretically derived criteria. A discourse analysis (DA) discursive psychology approach was utilised to examine identified MU events. Specifically, participant positioning and the constructive function of discourses were examined in the therapy extracts, as these DA concepts were closely linked to MU criteria. Findings provided insights into the couple and therapist interaction sequences that contribute to MU, suggesting that both systemic-behavioural and systemic-empathic EMCT techniques can facilitate the process. Specifically, circularities, active listening tasks, and eliciting vulnerability were identified as effective techniques for MU. Findings also pointed to clients' contributions and the impact of discordant discourses. Implications for EMCT practice, and directions for future couple therapy research are discussed.

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The Wife 's Lament from the Exeter Book has attracted much notice and speculation due to its mysterious origin and its narrator, who represents one of the few female voices surviving from the Anglo-Saxon period. Many scholars speculate that this work is related to The Husband's Message, another piece of equal length and similar subject matter from the same codex. I propose that the two works were originally symmetrical halves to a single work, in the form of a complaint and reply designed to represent the biblical metaphor of the Church as the Bride of Christ. Extensive parallels to biblical writings as well as to medieval theology suggest that the Wife of The Wife's Lament was intended to personify the voice of the waiting Church between Christ's ascension and his apocalyptic return. Similarly, The Husband's Message seems to embody Christ's promise of return and of the coming of the Kingdom of God: words of encouragement to the Church in her suffering. These voices echo the allegory of Christ the Bridegroom found throughout the Old and New Testaments, especially (in the medieval conception) in the Song of Songs, and provide a context in which the structural similarities of the works become more persuasive. Finally, I postulate that the form of the original work derives from remnants of the ancient Scandinavian cult of Freyja still resident in the cultural consciousness of Anglo-Saxon society even after the conversion to Christianity. In comparing the two stories it can be seen that the Wife's tone of lament echoes the mourning of Freyja at Freyr's seasonal death, and the voice of the Husband recalls Freyr's seasonal return with the spring. With evidence of form, purpose, and context, the argument for original unity accounts for the many mysterious elements in the two works.

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Essa dissertação apresenta um estudo analítico sobre a obra do arquiteto Louis I. Kahn, desde o ponto de vista da sua qualidade espacial, compreendida esta no modo como ocorre a interação entre espaço e usuário. Foram selecionados três edifícios como estudos de caso capazes de representar a síntese evolutiva da concepção de espaço ao longo da obra de Kahn, os quais foram submetidos a uma análise empírica baseada na experiência espacial do observador em movimento, lançando mão de um conjunto de ferramentas no assim denominado método do observador. Os edifícios estudados viabilizam o desenvolvimento de análises que abrangem desde as primeiras obras de Kahn, na década de 1930, até o seu falecimento, em 1974. A análise realizada registra o desempenho dos edifícios em termos de sua legibilidade e funcionalidade, compreendidas como qualidades inerentes ao espaço e ao modo como este condiciona a experiência do usuário, relacionandoas à concepção espacial do edifício. Procura-se ampliar a compreensão dos resultados obtidos à luz da evolução da obra teórica do autor, traçando relações de causa e efeito entre esta e os fenômenos registrados na realidade concreta dos edifícios. O trabalho busca ainda ampliar a compreensão da relação da obra de Kahn com o contexto da produção arquitetônica de sua época, investigando as influências que recebe e as contribuições que oferece, especialmente no que tange à continuidade da arquitetura moderna. / The present dissertation is as an analytical study about the work of architect Louis I. Kahn, focusing on its spatial quality, as funded in the interaction between space and people in motion. Three buildings were selected as case studies in order to capture the evolutionary synthesis of space conception happened during Kahn’s career. Each building was submitted to an empirical scrutiny based upon the spatial experience of a moving observer, using a set of tools named as the “method of the observer”. The buildings investigated are put in relation with other Kahn’s buildings, so allowing the development of an analytical discourse embracing since his first works, in the 1930’s, until his death, in 1974. The analysis registers the performance of the buildings in terms of their legibility and their functionality, both understood as qualities inherent to space and the way they shape the user’s experience, so relating them to the building’s spatial conception. The dissertation intends to enlarge the understanding of the findings by considering the evolution of Kahn’s theoretical work, so bringing cause-effect connections between theory and the registered phenomena in the concrete reality of buildings. Eventually, this study aims to enlarge the understanding of the link between Kahn’s work and the architectural environment of the time, so exploring the influences he received and contributions he gave, especially concerning the evolution of modern architecture.

This study takes as its focus Ted Hughes’s composition techniques throughout his career, arguing that his self-conscious experimentation with the processes by which he wrote affected the style and subject matter of his work. Hughes’s poetry has lent itself to a number of familiar critical approaches, focusing on his preoccupation with mythology, his interaction with the natural world and his creative partnership with his first wife, Sylvia Plath. Yet no study, until now, has looked systematically at his literary drafts and the extent to which Hughes’s method of composition radically altered during his writing career. Archive material at Emory University, accessible since 2000, and new archive materials held at the British Library and made available for study for the first time in 2010, have opened up possibilities for much greater depth of research into Hughes’s writing processes and the birth and evolution of individual poems. By engaging with these materials, my research complements new studies which are tackling under-examined areas of Hughes’s work, whilst contributing more broadly to an increased awareness of the central importance of archival work in the study of literature. Literary manuscript drafts have often been used to study writers whose writing methods consciously foreground the drafting process. Whilst Hughes has not previously been considered in this light, my original investigations into his archival materials reveal a poet for whom the nature of the compositional process was a central concern which defines and redefines his poetry across his career.

Provincial town clerks and scriveners have hitherto been a neglected subject in the historiography of the legal profession, yet as this thesis demonstrates, they contributed significantly to medieval England’s legal and scribal culture. Arguing for a new definition of scriveners based on their legal and linguistic literacy, this fresh interpretation differentiates between scriveners, notaries, generic clerks and lawyers and modifies the existing tendency towards classifying scriveners purely on the basis of the work they did and the legal instruments they produced. The study not only rectifies a gap in our knowledge, but reconceptualises our understanding of the lower echelons of the legal profession by examining the work that scriveners did and the role that they played in the local legal administration of medieval England, and by extension, the ways in which they facilitated access to justice on several levels. Focussing primarily on Exeter, Bristol, Bridgwater and Southampton, this research for the first time reveals the identities of some of the many scriveners who worked outside of London and evaluates their activities in provincial England. In order to achieve this, the thesis considers the extent to which scriveners were an integral part of an urban legal service as members of the provincial secretariat. Underpinning the theoretical framework of this thesis are themes such as literacy, clerical identity and professionalization – all of which are examined through the prism of law, languages and access to justice. Grounded in a palaeographic and diplomatic approach to the manuscript sources, this research has yielded some surprising results regarding the essential role of provincial scriveners within the legal, political and administrative landscape of medieval England. Fundamentally, this thesis offers a new vision of provincial English scriveners and the influence of their work. Set against the backdrop of an increasingly ‘professional’ legal profession, the importance of provincial scriveners as the keepers and creators of legal memory is highlighted along with the impact that this had on the wider legal community of medieval England.

Essa dissertação apresenta um estudo analítico sobre a obra do arquiteto Louis I. Kahn, desde o ponto de vista da sua qualidade espacial, compreendida esta no modo como ocorre a interação entre espaço e usuário. Foram selecionados três edifícios como estudos de caso capazes de representar a síntese evolutiva da concepção de espaço ao longo da obra de Kahn, os quais foram submetidos a uma análise empírica baseada na experiência espacial do observador em movimento, lançando mão de um conjunto de ferramentas no assim denominado método do observador. Os edifícios estudados viabilizam o desenvolvimento de análises que abrangem desde as primeiras obras de Kahn, na década de 1930, até o seu falecimento, em 1974. A análise realizada registra o desempenho dos edifícios em termos de sua legibilidade e funcionalidade, compreendidas como qualidades inerentes ao espaço e ao modo como este condiciona a experiência do usuário, relacionandoas à concepção espacial do edifício. Procura-se ampliar a compreensão dos resultados obtidos à luz da evolução da obra teórica do autor, traçando relações de causa e efeito entre esta e os fenômenos registrados na realidade concreta dos edifícios. O trabalho busca ainda ampliar a compreensão da relação da obra de Kahn com o contexto da produção arquitetônica de sua época, investigando as influências que recebe e as contribuições que oferece, especialmente no que tange à continuidade da arquitetura moderna. / The present dissertation is as an analytical study about the work of architect Louis I. Kahn, focusing on its spatial quality, as funded in the interaction between space and people in motion. Three buildings were selected as case studies in order to capture the evolutionary synthesis of space conception happened during Kahn’s career. Each building was submitted to an empirical scrutiny based upon the spatial experience of a moving observer, using a set of tools named as the “method of the observer”. The buildings investigated are put in relation with other Kahn’s buildings, so allowing the development of an analytical discourse embracing since his first works, in the 1930’s, until his death, in 1974. The analysis registers the performance of the buildings in terms of their legibility and their functionality, both understood as qualities inherent to space and the way they shape the user’s experience, so relating them to the building’s spatial conception. The dissertation intends to enlarge the understanding of the findings by considering the evolution of Kahn’s theoretical work, so bringing cause-effect connections between theory and the registered phenomena in the concrete reality of buildings. Eventually, this study aims to enlarge the understanding of the link between Kahn’s work and the architectural environment of the time, so exploring the influences he received and contributions he gave, especially concerning the evolution of modern architecture.